Fumiya Tanaka
Beautiful Days EP3

When British Airways got privatized and listed on the London Stock Exchange, somewhere in Canada the first Starbucks outside of the US opened, and the Walt Disney Company signed an agreement with the French Prime Minister to construct Disneyland Paris. In the sky above southern Argentina, Equatorial Guinea, Cameroon, Sudan, Ethiopia, Djibouti, northern Somalia, and the Atlantic Ocean a hybrid solar eclipse materialized for 7.57 seconds, whilst Margaret Thatcher performed for 45-minutes on Soviet television. Some days later, The Simpsons cartoon first appears as a series of shorts on The Tracey Ullman Show, Diego Maradona wins his first Italian soccer championship with Napoli, and Eighteen-year-old West German pilot Mathias Rust lands a private plane on Red Square in Moscow. In the mists of the world's first conference on artificial life at the Los Alamos National Laboratory, the first Kentucky Fried Chicken restaurant in Mainland China opens in Beijing, and Prozac gets approved for use as an antidepressant in the United States. Much give way for the future, down there in 1987, the year that marks the title of Benedikt Frey’s freshest mini album, out into the world on R.i.O., the label he runs with some pals in the North of Berlin. It’s a dubby melancholic conqueror, wistfully, repetitive, drilling, absorbing, spooking. It makes you dream. Not particular of the year 1987. But it’s all there: The Red Square, the untouched land of the Val d'Europe, Diego on fuego. Six dark-ish tracks in trance, melancholic dub, downbeat heaven, journey music depths, all full of light and yet so dark. Futuristic dramas linked to a speculative past. In our dreams all might look different. The eclipse may last 27- minutes. You meet Neuromancer cyberpunks and blade running Ghost dogs, all taught to hack by Phrack. Cristal clear melodies, sampled voices, and veiled basslines, analogue scopes, and digital ropes, longing for a past that storm into the future. A time where deep listening widens the acoustics into infinity, while neon glows charm the light smog. Benedikt Frey been down there. Or maybe not. His latest music tells stories from the bygone, vested with the forthcoming. Come in and look out. There is nothing to see, yet so much to hear.

It’s in this strange time that Bardouin Music born with some acid and club pieces with some great french producers. Started with "No More Acid" - a piano banger well cooked by chief Herr Krank. Followed by Esba and his very acid warehouse track "Tard" - Side A ends with the deeply pleasant "Correction d'Orbite" that Col. J realize. B Side Monsters Aurèle and Hyas attack with a glitched club track from V45 called "Elka 2020" in reference to the melody made with this analog synthesizer. Finish royally with "Acid Trap" bomb concocted by the respected and mysterious Renart - a mix between acid and bass trap rather surprising and very effective.

Griffé launches another starship into the endless expanses of music space — EP of young Lviv producer AC130, who has already confidently declared himself on the international scene with a successful release on EYA Records’ sister label — Lonewolf. The start of the new research expedition is planned on January 21st, but the destination is unknown, as clearly stated in the title.But we can be sure, all four tracks fulfill the mission entrusted to them with dignity. Purring acids, spacey synths in tandem with rhythmic breakbeats and electro patterns followed by convincing tech-house arrays — the musical palette of the record is varied, captivating, and is guaranteed to pique the interest of the audience and positively drive the dancefloors crazy. Ready to launch!

Breakfree Records are honoured to welcome Naarm's new wunderkind, Reflex Blue for their second record of punchy progressive / tech house.

Broken District is the new label launched by the creative minds of Jus Jam, Momla and Antwan. The project is born with the idea of exploring alternative music styles that blend the influences of the label’s creators, including Jazz, House-Music, Hip-Hop, Funk, Soul, and experimental music.In order to give a global vision over the label’s territory, Broken District is launching with a series of VA EPs.Momla is kicking-off the label’s first release with an instrumental Funk ballad. He is using Soul samples, synths and an electronic piano to create a smooth vibe, led by a catchy bassline.Up next, Hip-Hop producers Yepes & Plae Casi are stepping out of their favourite field to incorporate House-Music rhythmic elements over an old-school R&B flavour.Berlin-based producer Marian Tone is closing the first side with a laidback, jazzy Hip-Hop instrumental.The other side opens with the Copenhagen-based talent Jeppe Wolmer. “Normal Position” is a modern take on Disco & Boogie, with a rhythmic bassline and reverbing Rhodes, ending with acid infused synths.Concluding this first release, label’s co-founder Jus Jam gives us another glimpse of his musical talent through a dreamy journey that blends House-Music, Hip-Hop and Jazz together.Welcome to the Broken District.

Following up Batozsek’s four slices on Vol 2, Ecdisis Vol 3 is fresh and ready to wreak some havoc.Some familiar names from the first volume of these series return for the third instalment as well as an otherworldly figure in the electronic music world.Up first is Vinilette, returning after her excellent appearance on Ecdisis Vol 1. A brood of beats take hold for Vinilette’s rework of Flux of Pink Indians’ “Nothing Is Not Done.” Tribal, this rhythmic romp is inspired by the 1986 piece on Uncarved Block. Layers of kick drums, bongos and toms echo andjudder as a cold line circles and closes ever tighter. Following we have the head honcho, Juanpablo with his extended edit of Mac Blackout’s “Do The Dance In Your Head” which original version came out in Valencia’s imprint B.F.E. in 2011. The original song with its guttering guitar strings and nicotinestained vocals, proves ample ground for the Frigio boss to work with. The intro is given room, adopting a doom disco march, before the fearsome crash of strings. The lyrics, a lurid tale brimming with menace, are sweetened with twirling notes in this grisly stomper. The final attack sequence comes care of Mick Wills with his amazing cut of an unreleased track by Argentina’s great producer NGLY. Dark and looming this distortion streaked encounter will leave bodies and speaker cones raw. Three edits with one central vision. This is music that cuts to the bone, these are tracks that continuethat intent first established by Ecdisis Vol 1. A collection with a serious impact, no doubt.